The first book-length critical and historical account of an ultramodern architectural movement of the 1960s that advocated "living equipment" instead of buildings.
Arriving in the US a decade ago as a UK-trained architectural historian, I became more aware than I had been at home of what seemed like a disciplinary split between architectural historians trained ...as architects—thinking, perhaps, as architects—and architectural historians, thinking first and foremost as historians, for whom architecture was not an avocation. Jorge Otero-Pailos’s explanation of this cultural divide, which he describes in his 'Architecture’s Historical Turn: Phenomenology and the Rise of the Postmodern' from 2010, was revelatory to me. The phenomenological turn in architecture led to nothing less than a redirection of architectural history as a profession, in which architects practicing as historians—’architect-historians’, as Otero-Pailos calls them—were found ‘staking out a new position … within the academy as the custodians of architecture’s peculiarly ambiguous mode of intellectuality’, which is the ‘unity of theory and practice’ (Otero-Pailos 2010: xiii). Two modes of architectural historical study now co-existed, particularly, it would seem, in the US, uneasily demarcating architect-historians, trained principally as architects, from architectural historians principally steeped in art historical methodology.
This article argues that the UK’s vanguard magazine Architectural Design (AD) promoted appropriate technology (AT) to prompt ‘architectural thinking’ about the late-modern crisis following the ...collapse of post-War consensus in the welfare state and its architecture. This was to be a crisis settled by the decade’s end in postmodernism and neoliberalism, a new consensus so overwhelming that it was heralded even in AT, especially those variants drawn from the Californian libertarianism of the Whole Earth Catalog. But British AT was also drawing from the UK’s eco-socialist Radical Technology group and its publication, whose chief artist, anarchist Clifford Harper, and editor Peter Harper, contributed to AD. At the beginning of the decade, the magazine’s sub-editor Martin Pawley insisted on the role of a lateral ‘architectural thinking’ of the sort inherent to AT, which pointed to futures by turn libertarian, socialist, and social democratic (its first advocate, Ernst Schumacher, had been a stalwart Keynesian and manager of nationalisation). Beyond politics per se, paradox and analogy were keynote to the decade’s epistemological uncertainty, from the ‘wickedness’ besetting design as a ‘problem-solving’ activity, to a post-structuralism eroding the long Enlightenment project, to a post-colonialism challenging Eurocentric technologies of exploitation. Indeed, AD could position design and AT as ‘non-aligned third way’ much as the so-called Third World indicated a ‘third way’ between the capitalism and communism of the so-called First and Second Worlds.
The Bateson Building, Sacramento, California, 1977–81, and the Design of a New Age State explores an origin of architectural sustainability in the 1970s California governmental programs of Governor ...Jerry Brown and the circle around Brown and his consultant Stewart Brand, a countercultural entrepreneur. Focusing on the Bateson Building, designed by State Architect Sim Van der Ryn and his team to be the world's first large energy-saving, climate-modulating building, Simon Sadler traces the ambition of the first Brown administration to reinvent the state as a unified ecology founded on New Age principles, notably those drawn from the second-order cybernetics of anthropologist Gregory Bateson, who served as an adviser to the governor. Drawing on archival and published sources from government, environmental policy, cybernetics, and architecture, Sadler recounts an ambitious ecological agenda that included the new Office of Appropriate Technology, a projected space program, and a water atlas for the state of California. Sadler argues for a reconsideration of the history of sustainable and postmodern architecture alike.
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•Direct comparison of naturalistic VYK and KM data reveals great overall similarity.•Differences in select morpho-syntactic features (e.g. subject honorification).•Shared Hamgyeong and Yukchin ...dialectological heritage reflected in VYK and KM.•Suggestive of Mufwene’s ‘founder effect’ in transplanted, non-creole varieties.
This paper identifies and examines numerous points of morpho-syntactic contrast in two transplanted varieties of Korean—Central Asian Koryo Mar (KM) and Chinese Vernacular Yanbian Korean (VYK). This allows us to evaluate implicit claims made about the synchronic forms of these dialects, for example those concerning their relationship to peninsula varieties of Korean, and also provides insights into the factors underlying the development of languages in transplanted contexts. The main findings of this paper confirm that KM and VYK's shared features, such as particle forms and verb endings, are strongly associated with the North Hamgyeong and Yukchin varieties of Korean and their common dialectological origins in the North East of the Korean peninsula. The longevity of these features suggests a ‘founder effect’ in the development of these transplanted varieties.
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